Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Ukraine and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1973.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Stockholm kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the oboe sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Robert Wyatt to the crunk kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Flipper. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Marmalade,
Minnie Riperton,
Vainqueur,
Wire,
World's Most,
The Fire Engines,
Gian Franco Pienzio,
Soft Machine,
Terrestrial Tones,
Excepter,
Mars,
A Certain Ratio,
Agitation Free,
Eve St. Jones,
the Soft Cell,
The Gladiators,
Grandmaster Flash and the Furious Five,
Hoover,
Deadbeat,
The Music Machine,
Mantronix,
Yaz,
Drexciya,
Silicon Teens,
Arcadia,
The Count Five,
Deepchord,
Lalann,
The New Christs,
Jeff Mills,
Scan 7,
PIL,
Public Image Ltd.,
Kayak,
Motorama,
Crooked Eye,
The Busters,
Joe Smooth,
The Blackbyrds,
Gabor Szabo,
JFA,
The Last Poets,
Niagra,
The Electric Prunes,
David McCallum,
Crash Course in Science,
Yusef Lateef,
Visage,
Camberwell Now,
Sun Ra,
Delon & Dalcan,
Fifty Foot Hose,
Matthew Halsall,
Wighnomy Brothers & Robag Wruhme,
Rites of Spring,
Echo & the Bunnymen,
The Divine Comedy,
Wally Richardson,
The Monochrome Set,
James White and The Blacks,
Ice-T, Ice-T, Ice-T, Ice-T.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.